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Pixx

Small Mercies

    Although love lives at the heart of her second album, it has little to do with romance. Small Mercies is absolutely not a heartbreak record, nor is it a celebration of new love, or sisterly call-to-arms or vengeful catharsis. Instead, it is a series of poetic examinations of love across the experiential spectrum, from the micro (self-love) to the macro (devotional faith-inspired love, love for this planet), set to a soundtrack that mixes electronic pop and grungy guitar rock with aplomb.

    Small Mercies follows the 23 year-old’s debut album, The Age Of Anxiety (2017) – an unsettling synth-pop record fuelled by Pixx’s own debilitating experience of angst – and 2015’s forlorn and folk-edged Fall In EP. Co-produced by Simon Byrt (who worked on both her EP and debut album) and Dan Carey, it sees Pixx assuming different personas to examine the damage done by religion, gender-based power hierarchies and stereotypes, the tipping point of Earth’s destruction and love.

    You'd be hard-pushed to find an album with as many well-crafted, supremely catchy pop songs as this. Original yet soothingly familiar, these tunes manage to break your heart and take you to the top in equal measure. They're written and sung by Tracyanne Campbell and there can't be a sweeter, more believable voice in pop right now. It's like she's your best friend, singing in your ear, but what she's singing is the pages of her diary! This is actually Camera Obscura’s 4th album, but the others just led up to this one; this is the one where they’ve distilled their thing. The production’s perfect too: Concrete’s producer Jari Haapalainen perfectly capturing the old-school indie classicist vibe. Every song's a gem, there's not one duffer, but the gorgeous slowie "James" and the euphoric, horn-driven "Honey In The Sun" deserve a special mention. Mancunian legend Paul Morley's a massive fan too: that's good enough for me!

    I Am Easy To Find is the band’s eighth studio album and the follow-up to 2017’s GRAMMY®-award winning release Sleep Well Beast. A companion short film with the same name will also be released with music by The National and inspired by the album. The film was directed by Academy Award-nominated director Mike Mills (20th Century Women, Beginners), and starring Academy Award Winner Alicia Vikander. Mills, along with the band, is credited as co-producer of the album, which was mostly recorded at Long Pond, Hudson Valley, NY with additional sessions in Paris, Berlin, Cincinnati, Austin, Dublin, Brooklyn and more far flung locations. The album features vocal contributions from Sharon Van Etten, Brooklyn Youth Chorus, Lisa Hannigan, Mina Tindle and more.

    I Am Easy to Find is a 24-minute film by Mills starring Alicia Vikander, and a 68-minute album by the National. The former is not the video for the latter; the latter is not the soundtrack to the former. The two projects are, as Mills calls them, “Playfully hostile siblings that love to steal from each other”—they share music and words and DNA and impulses and a vision about what it means to be human in 2019, but don’t necessarily need one another. The movie was composed like a piece of music; the music was assembled like a film, by a film director. The frontman and natural focal point was deliberately and dramatically sidestaged in favour of a variety of female voices, nearly all of whom have long been in the group’s orbit. It is unlike anything either artist has ever attempted and also totally in line with how they’ve created for much of their careers.

    As the album’s opening track, ‘You Had Your Soul With You,’ unfurls, it’s so far, so National: a digitally manipulated guitar line, skittering drums, Berninger’s familiar baritone, mounting tension. Then around the 2:15 mark, the true nature of I Am Easy To Find announces itself: The racket subsides, strings swell, and the voice of long-time David Bowie bandmate Gail Ann Dorsey booms out—not as background vocals, not as a hook, but to take over the song. Elsewhere it’s Irish singer-songwriter Lisa Hannigan, or Sharon Van Etten, or Mina Tindle or Kate Stables of This Is the Kit, or varying combinations of them. The Brooklyn Youth Choir, whom Bryce Dessner had worked with before. There are choral arrangements and strings on nearly every track, largely put together by Bryce in Paris—not a negation of the band’s dramatic tendencies, but a redistribution of them.

    “Yes, there are a lot of women singing on this, but it wasn't because, ‘Oh, let's have more women's voices,’ says Berninger. “It was more, ‘Let's have more of a fabric of people's identities.’ It would have been better to have had other male singers, but my ego wouldn't let that happen.”

    FORMAT INFORMATION

    2xColoured LP Info: Indies only 140gram clear vinyl – limited edition, one pressing only.

    3xDeluxe LP Info: 140g set on opaque red / yellow / grey colours.
    5th side contains 22 minutes of music from the I Am Easy To Find Original Film Score – EXCLUSIVE to this format.
    Etching on the 6th side.
    Tri-fold LP jacket.
    3x printed innersleeves.
    24 page booklet.
    24” x 24” poster folder.
    Housed in printed plastic sleeve.

    2xLP Info: Black vinyl.

    Holly’s third full-length album "Proto" isn’t about A.I., but much of it was created in collaboration with her own A.I. baby, 'Spawn'. For the album, she assembled a contemporary ensemble of vocalists, developers and an inhuman intelligence housed in a DIY souped-up gaming PC to create a record that encompasses live vocal processing and timeless folk singing, and places an emphasis on alien song craft and new forms of communion. "Proto" makes reference to what Holly refers to as the protocol era, where rapidly surfacing ideological battles over the future of A.I. protocols, centralised and decentralised internet protocols, and personal and political protocols compel us to ask ourselves who are we, what are we, what do we stand for, and what are we heading towards?

    "Eternal" follows the 2018 release of Holly and Jlin’s collaborative song "Godmother (feat. Spawn)". The skittering track, which was created by Spawn reimagining the artworks of her 'godmother' Jlin in a trained model of her mother’s voice with no editing or sample trickery, was praised everywhere from NPR to The Guardian to New York Times, and elsewhere. You can hear traces of Spawn throughout the album, developed in partnership with long time collaborator Mathew Dryhurst and ensemble developer Jules LaPlace, and even eavesdrop on the live training ceremonies conducted in Berlin, in which hundreds of people were gathered to teach Spawn how to identify and reinterpret unfamiliar sounds in group call-and-response singing sessions; a contemporary update on the religious gathering Holly was raised amongst in her upbringing in East Tennessee.

    'There’s a pervasive narrative of technology as dehumanizing,' says Holly. 'We stand in contrast to that. It’s not like we want to run away; we’re very much running towards it, but on our terms. Choosing to work with an ensemble of humans is part of our protocol. I don’t want to live in a world in which humans are automated off stage. I want an A.I. to be raised to appreciate and interact with that beauty.'

    Since her arrival in 2012, Holly has successfully mined the edges of electronic and avant garde pop and emerged with a dynamic and disruptive canon of her own, all while studying for her soon-to-be-completed PhD at Stanford University, researching machine learning and music. Her LP "Platform" closed out 2015 by gracing year-end lists from Pitchfork, The Guardian, NME, and The Wire. In the aftermath, Radiohead hand-picked her to open up their European tour. Just as "Platform" forewarned of the manipulative personal and political impacts of prying social media platforms long before popular acceptance, "Proto" is a euphoric and principled statement setting the shape of things to come.


    STAFF COMMENTS

    Matt says: Someone call Elon Musk! Holly Herdon offering the machines some piecework here, enlisting the ghosts of Terminator 2 to concoct a really quite cerebral piece of haunted-electronic-folk experimentation. Scared? You should be!

    U.F.O.F., F standing for ‘Friend’, is the name of the highly anticipated third record by Big Thief, set to be released by 4AD on May. It was recorded in rural western Washington at Bear Creek Studios with engineer Dom Monks, and producer Andrew Sarlo who was also behind their previous albums.

    The New York-based band, featuring Adrianne Lenker (guitar, vocals), Buck Meek (guitar), Max Oleartchik (bass), and James Krivchenia (drums), has spent the last 4 years on an incessant world tour, winning the devotion of an enthusiastic and rapidly expanding audience.

    Their songs represent an emotional bravery and realness that weaves intimate relationships with the listener, a phenomenon that has made them one of the most widely-respected bands of the current era.

    STAFF COMMENTS

    Barry says: Big thief are one of our favourites in Piccadilly, and this latest iteration of their sound really shows why. Skilfully toeing the line between mournful acoustic balladry, simmering country and more upbeat melodic indie, Big Thief have once again brought us an eminently listenable and transportative triumph.

    FORMAT INFORMATION

    Coloured LP Info: Limited edition orange vinyl.

    Aldous Harding releases her third album, Designer. Designer finds the New Zealander hitting her creative stride. After the sleeper success of the internationally lauded Party, Harding came off a 100-date tour last summer and went straight into the studio with a collection of songs written on the road.

    Reuniting with John Parish, producer of Party, Harding spent 15 days recording and 10 days mixing at Rockfield Studios, Monmouth and Bristol’s J&J Studio and Playpen. From the bold strokes of opening track ‘Fixture Picture’, there is an overriding sense of an artist confident in their work, with contributions from Huw Evans (H. Hawkline), Stephen Black (Sweet Baboo), drummer Gwion Llewelyn and violinist Clare Mactaggart broadening and complimenting Harding’s rich and timeless songwriting.

    STAFF COMMENTS

    Barry says: Another stunning LP from Harding here, being a favourite in the shop, we're no newbies to her own brand of rhythmic country-tinged melodic indie, but this time around we get the Welsh input from Huw Hawkline and Steve Baboo, both acts i'm well accustomed with from my time in Cardiff, and both perfectly fitting in to Harding's musical world. Beautiful stuff.

    FORMAT INFORMATION

    Coloured LP Info: Limited gold vinyl, one pressing only, indies only.

    Coloured LP includes MP3 Download Code.

    LP includes MP3 Download Code.

    Frank Black

    Teenager Of The Year

      THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

      Long out of print repress on exclusive coloured vinyl - White vinyl

      Frank Black

      Frank Black

        THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

        Long out of print repress on exclusive coloured vinyl - Orange vinyl

        The National

        You Had Your Soul With You / Hairpin Turns

          Ultra limited primer for the new album...

          BASKET!
          BASKET!!
          BASKET!!!

          Rema-Rema

          Fond Reflections

            40 years after disbanding comes ‘Fond Reflections’, the debut album that never was from cult 4AD band Rema- Rema.

            Rema-Rema featured former members of The Models and Siouxsie and The Banshees and their much-loved ‘Wheel In The Roses’ EP (1980) was among the first records to be released on 4AD. Their only contribution to the label’s storied history, they split-up before its release, going on to form or join bands as diverse as Renegade Soundwave, The Wolfgang Press, Mass and Adam and the Ants.

            The debut album that never was, ‘Fond Reflections’ comes almost forty years after their debut EP and has been culled from the band’s rich archive of reel-to-reel and cassette recordings, with member Gary Asquith and mixing engineer Takatsuna Mukai painstakingly working on them to make the album as cohesive as possible.

            The ten tracks pretty much reflect the band’s live set and is the closest to what their debut album could have sounded like. Worth noting too that although all their 1980 EP tracks are present on the album, they are all from different recordings.

            FORMAT INFORMATION

            2xCD Info: The 2CD edition comes with a second disc entitled ‘Extended Wheel In The Roses’. As its title suggests, it’s the four EP tracks as they were plus ‘Entry’ (taken from the same studio session as the EP’s A-side of ‘Feedback Song’ and ‘Rema- Rema’) and ‘No Applause’ and ‘Murdermuzic’, two more tracks recorded at the same 1979 Albany Empire, London show as the EP’s B-side, ‘Instrumental’ and ‘Fond Affections’.

            The musical project of Jake Webb, Methyl Ethel, has always been a surrealist outfit - a dark and obscured expression of life set to the backdrop of dream pop hooks. But Triage is a more reflective album than their previous two – featuring singles ‘Scream Whole’ and ‘Real Tight’, it explores the notion of coming of age, only to reference it for the snapshots and passing memories that it has become.



            Elena Tonra, guitarist, vocalist and lyricist of Daughter, has announced details of a solo project. Running parallel to Daughter, she’s assumed the pseudonym Ex:Re (pronounced ex ray) for her eponymously-titled debut solo album, a deeply personal record that was made with both a sense of urgency and a cathartic need. Just finished, it’s being released with equal speed and will be out digitally on 30th November

            Tonra’s candid solo songs document the time after a relationship ended and are written like unsent letters to herself and others. Taking on a creative moniker, she chose Ex:Re to mean ‘regarding ex’ and also ‘X-Ray’ as a way to look inside and see what is really there. Writing took a year but the recording process lasted mere months, turning to Fabian Prynn (4AD’s in-house engineer and producer) and composer Josephine Stephenson on cello to help bring Ex:Re to life.

            Elena said of the album, “Although the record is written for someone, a lot of the time it’s about the space without that person in it. In every scenario, there's either the person in memory or the noticeable absence of that person in the present moment. I suppose it is a break-up record, however I do not talk about the relationship at all, and he hardly features in the scenes. He is only felt as a ghostly presence.”

            STAFF COMMENTS

            Barry says: Daughter were one of the most refreshing bands to come out a good few years ago, and this Solo album from haunting voiced singer, Elena Tonra is a beautiful and comfortingly different outlet for her undeniable vocal and songwriting talents. Beautiful.

            Gallipoli, Beirut’s fifth album, started life when Zach Condon returned to his old Farfisa organ, the same one he used to write his first two albums, Gulag Orkestar (2006) and The Flying Club Cup (2007). After stints writing and recording in both New York and Berlin, with time for Zach to recover from a broken arm factored in, band plus producer Gabe Wax (Speedy Ortiz, Soccer Mommy, Adrianne Lenker / Big Thief) headed to Puglia in Italy to finish the album.

            With the remote rural setting “the right amount of isolated”, an intense month of 12 to 16-hour days in the studio with day trips around the coastline followed. Inspired by the surroundings, Gallipoli is unintentionally more visceral than Beirut’s more recent albums, alive with an energy that is further enhanced by every creak and groan of their instruments, every detuned note, and all amp buzz and technical malfunction being left in the cracks of the songs.

            STAFF COMMENTS

            Barry says: There's always been something mesmerising about Beirut, their exotic choice of rhythms and instrumentation coalescing with their minimal songwriting style and almost ethereal vocal projection. You'll be delighted to know that this one is every bit the excellent follow-up to 2015's 'No No No', and (thankfully) a little longer. Superb stuff.

            Deerhunter

            Why Hasn't Everything Already Disappeared?

              As thrilling and unpredictable as anything in Deerhunter’s near 15-year career, Why Hasn’t Everything Already Disappeared? was recorded in several strategic geographic points across North America, and produced by the band, Cate LeBon, Ben H. Allen III, and Ben Etter. Forgetting the questions and making up unrelated answers, Deerhunter’s eighth LP is a science fiction album about the present. Exhausted with the toxic concept of nostalgia, they reinvent their approach to microphones, the drum kit, the harpsichord, the electromechanical and synthetic sounds of keyboards. Whatever guitars are left are pure chrome, plugged straight into the mixing desk with no amplifier or vintage warmth.

              FORMAT INFORMATION

              Coloured LP Info: Grey coloured vinyl.

              This Mortal Coil was the given name of a strictly-studio project that spawned three albums, conceived and produced by one-time 4AD founder Ivo Watts-Russell.

              Over the span of eight years he, along with Blackwing Studios house engineer/ co-producer, John Fryer, and a rotating cast of musicians, created original works, musical links and reinterpretations of impeccably curated songs; introducing a new audience to the talents of a previous generation including Big Star, Tim Buckley, Roy Harper, Spirit, Gene Clark, Dino Valenti, Rain Parade, Emmylou Harris, Syd Barrett and Colin Newman, amongst others.

              Released two years after their debut album, This Mortal Coil’s Filigree & Shadow (1986) was no less ornate than its predecessor; a double album with each of its four sides a self-contained unit.

              New faces joined the cast for this record, including a variety of singers Ivo handpicked like Alison Limerick, Jeanette, Dominic Appleton (Breathless), sisters Deirdre and Louise Rutkowski (Sunset Gun), and Richenel.

              An intense listen, The Quietus called it “tortured yet oddly euphoric… (music which) could easily rip flimsy souls apart.”

              FORMAT INFORMATION

              2xLtd LP Info: The new deluxe vinyl version differs from the original release with its artwork reimagined by Ivo Watts-Russell and Vaughan Oliver (4AD’s long-time visual partner). Presented in beautiful, hand finished and high-gloss gatefold sleeve, using remastered audio made from the original analogue studio tapes by the late, great John Dent.

              Deluxe CD Info: This deluxe CD edition is manufactured by the Ichikudo company in Japan, packaged in striking gatefold paper sleeve, printed to the highest standard. Originally made available as part of a highly limited boxset back in 2011, this new version differs by being UHQCDs (Ultimate High Quality Compact Disc) rather than HDCDs (High Definition Compatible Digital).

              This Mortal Coil was the given name of a strictly-studio project that spawned three albums, conceived and produced by one-time 4AD founder Ivo Watts-Russell.

              Over the span of eight years he, along with Blackwing Studios house engineer/ co-producer, John Fryer, and a rotating cast of musicians, created original works, musical links and reinterpretations of impeccably curated songs; introducing a new audience to the talents of a previous generation including Big Star, Tim Buckley, Roy Harper, Spirit, Gene Clark, Dino Valenti, Rain Parade, Emmylou Harris, Syd Barrett and Colin Newman, amongst others.

              Landing at the start of a new decade, after much had happened in both producer Ivo Watts-Russell’s life and with his 4AD label, the final part of the This Mortal Coil trilogy, Blood (1991), felt like a perfect conclusion.

              Meticulously orchestrated, vocalists Alison Limerick, Deirdre and Louise Rutkowski return from the second album with Caroline Crawley (Shelleyan Orphan / Babacar) and 4AD signees Heidi Berry, Kim Deal (Pixies / The Breeders), Tanya Donelly (Throwing Muses / The Breeders / Belly) and Pieter Nooten all enlisted.

              “Shedding some of its chillier post-punk components, blossoming into material airy and gorgeous. Covers — many from the psychedelic era — still dominate the material, but they are largely indistinguishable from the originals, so seamless is (it’s) indelible tone. Blood is a treasure.” Consequence of Sound

              FORMAT INFORMATION

              2xLtd LP Info: The new deluxe vinyl version differs from the original release with its artwork reimagined by Ivo Watts-Russell and Vaughan Oliver (4AD’s long-time visual partner). Presented in beautiful, hand finished and high-gloss gatefold sleeve, using remastered audio made from the original analogue studio tapes by the late, great John Dent.

              Deluxe CD Info: This deluxe CD edition is manufactured by the Ichikudo company in Japan, packaged in striking gatefold paper sleeve, printed to the highest standard. Originally made available as part of a highly limited boxset back in 2011, this new version differs by being UHQCDs (Ultimate High Quality Compact Disc) rather than HDCDs (High Definition Compatible Digital).

              This Mortal Coil was the given name of a strictly-studio project that spawned three albums, conceived and produced by one-time 4AD founder Ivo Watts-Russell.

              Over the span of eight years he, along with Blackwing Studios house engineer/ co-producer, John Fryer, and a rotating cast of musicians, created original works, musical links and reinterpretations of impeccably curated songs; introducing a new audience to the talents of a previous generation including Big Star, Tim Buckley, Roy Harper, Spirit, Gene Clark, Dino Valenti, Rain Parade, Emmylou Harris, Syd Barrett and Colin Newman, amongst others.

              This Mortal Coil’s debut album It’ll End In Tears (1984) forged the template; helping to crystallise 4AD’s emerging signature sound whilst shining a light on some of their stable with Cocteau Twins, Colourbox, Dead Can Dance and The Wolfgang Press all involved. The line-up was completed by arranger Martin McCarrick, violinist Gini Ball, Howard Devoto of Buzzcocks / Magazine fame and Cindytalk’s Gordon Sharp.

              Pitchfork recently named it one of the best Dream Pop albums ever, a moment which “catalysed 4AD’s ascendance from the stilted poetics of goth rock to the kings of gauzy transcendence.”

              FORMAT INFORMATION

              Ltd LP Info: The new deluxe vinyl version differs from the original release with its artwork reimagined by Ivo Watts-Russell and Vaughan Oliver (4AD’s long-time visual partner). Presented in beautiful, hand finished and high-gloss gatefold sleeve, using remastered audio made from the original analogue studio tapes by the late, great John Dent.

              Deluxe CD Info: This deluxe CD edition is manufactured by the Ichikudo company in Japan, packaged in striking gatefold paper sleeve, printed to the highest standard. Originally made available as part of a highly limited boxset back in 2011, this new version differs by being UHQCDs (Ultimate High Quality Compact Disc) rather than HDCDs (High Definition Compatible Digital).

              Bauhaus

              In The Flat Field

                Late 2018 will mark the 40th anniversary of Bauhaus. To celebrate, Beggars Arkive is reissuing six records from the band’s catalogue on limited edition coloured vinyl.

                Formed in 1978, The legendary and hugely influential quartet hailed from Northampton, England and is comprised of Peter Murphy, Daniel Ash, David J and Kevin Haskins. The dark, dramatic music that they made, possessed far more force, variety and playfulness than the "founding fathers of goth" tag that is always attached to them.

                Bauhaus' landmark debut album, In the Flat Field, came out towards the end of 4AD's first eventful year. Following the plan at the time, the band then "moved upstairs" to Beggars Banquet, for whom they cut three further albums before dissolving in 1983. They charted with their cover of David Bowie’s “Ziggy Stardust”, they’ve been and namechecked by everyone from Nine Inch Nails, Sepultura, Janes Addiction, MGMT, Interpol, Bjork, Nirvana and more. They remain a huge cult concern, periodically reforming to wow their legions of dedicated followers.

                In The Flat Field is the band’s debut studio album, released by 4AD and considered to be one of the very first “goth” albums.

                This was mastered from HD audio files transferred from the original tapes.

                “this record’s influence on the impending goth scene cannot be underestimated or denied” – Drowned In Sound

                FORMAT INFORMATION

                Coloured LP Info: Bronze coloured vinyl.

                30th Anniversary Deluxe Edition of Pixies’ Debut EP and Album, Come On Pilgrim and Surfer Rosa, includes Bonus 1986 Radio Concert Live From The Fallout Shelter

                “An unparalleled example of rule-smashing innovation in independent music.” Pitchfork

                “Smack in between hardcore punk and alternative, their secret weapon was leaping from sweet to screaming, driving a spike into Eighties rock.” Rolling Stone

                “Surfer Rosa quickly cemented itself as a must-have album (and) 30 years on, its aged into timelessness rather than becoming a period piece.” The Quietus

                It’s been thirty years since the release of Surfer Rosa – a record made up of rage, religion, gore, incest and superheroes named Tony – a debut album so good that it’s since seen as a masterpiece. A year prior came Come On Pilgrim, an eight-track mini-album released in 1987 which contained cuts culled from their first ever studio session, where they famously recorded seventeen tracks in just three days (in full, this session makes up the band’s much bootlegged and now officially released The Purple Tape).

                These formative records showed the Pixies to be an alien breed; four oddball outsiders from Boston blending US underground thrash rock, indie surf pop and Spanish-language flamenco with the Biblical mythology of Frances’s childhood. They would go on to record another masterpiece in 1989’s Doolittle but it’s the gruesome glory of Surfer Rosa, and the ruined sexuality of its cover image (a topless flamenco dancer in a crumbling Mexican bar) that set a fresh blueprint for an indie rock dynamism that not only planted the seeds of grunge (Kurt Cobain would admit that he was trying to imitate the record while writing Nevermind) but of much of the best rock music made since.

                To celebrate this milestone, Pixies are playing fi ve sold-out intimate shows at London’s Roundhouse this October and preceding them is the release of Come On Pilgrim… It’s Surfer Rosa, the thirtieth anniversary edition which contains Come On Pilgrim, Surfer Rosa and Live From The Fallout Shelter, a concert-cum-session that first aired in late-1986 on WJUL in Lowell, MA.

                In addition to both a three CD and three LP edition, there’s also a super-limited and stunning deluxe clothbound hardbook three LP version, which will be a must for all fans. Like all other Pixies sleeves, Vaughan Oliver returns as designer, stunningly reinterpreting his original artwork with Simon Larbalestier’s iconic photographs remaining these record’s crowning glory.

                FORMAT INFORMATION

                3xColoured LP Info: Wide Spine Cover, Gold Vinyl, Download Card of Live From The Fallout Shelter Included.

                3xDeluxe LP Info: Clothbound Hardbook.
                Clear Vinyl.
                Lyric Booklet.
                Art Book & Download Card of Live From The Fallout Shelter Included.

                FREE SHIPPING This item has FREE UK shipping!

                3xCD Info: Hardbook Wallet Case with Lyric Booklet.

                The Lemon Twigs emerged in 2016 with their debut LP, Do Hollywood, which was praised by Rolling Stone for its “toting hooky songs that stand out for their intricate arrangements and delectable melodies” and NPR Music who mused, “like listening to music from a time that never was…a baroque rock romp.”

                Their second album, Go To School is their most ambitious work yet; a conceptual musical, conceived by brothers Brian and Michael D’Addario, which tells a heartbreaking coming of age story of Shane, a pure of heart chimpanzee raised as a human boy as he comes to terms with the obstacles of life. Todd Rundgren and their real-life mother Susan Hall play Shane’s parents. The album also features contributions from Jody Stephens (Big Star), Natalie Mering (Weyes Blood) and their father Ronnie D’Addario.

                STAFF COMMENTS

                Barry says: Immediately reminiscent of all your favourite rock greats (you name it, the Lemon Twigs know it), but with a brilliantly innovative sense of pacing and style. Brilliantly mature and eccentrically conceptual, this is a killer LP from a band rising through the ranks quickly. Ace.

                “Like Arthur Russell before them, they give equal floorspace to the spiritual and the sensual.” Pitchfork

                Gang Gang Dance – one of the most enduring and creatively vibrant musical acts of 21st Century New York – return with brand new album, Kazuashita.

                Formed initially as an improvisational outfit in the early 2000s, Gang Gang Dance are Lizzi Bougatsos, Brian DeGraw and Josh Diamond. All independently operating artists in their own rights, they consistently blur the boundaries between music and art; as comfortable today performing at the Whitney Biennial as they are at Coachella, and count Dash Snow & Nate Lowman, Tinchy Stryder and the Boredoms as previous collaborators.

                Held together by Lizzi Bougatsos and her otherworldly vocal, Kazuashita is an intoxicating mix of ethereal shoegaze and electronic ambience, self-produced by Brian DeGraw.

                STAFF COMMENTS

                Barry says: Seguing brilliantly between a swooning electronic swell and clicking, glitched-out histrionics, GGD manage to toe the line between downbeat post-shoegaze electronics and more driven elements without batting an eyelid. Perfectly balanced and brilliantly evocative.

                The Breeders

                Last Splash

                  Originally released by 4AD in August 1993, ‘Last Splash’. By the time this album was released, Tanya Donelly had left the band to for Belly and Kim Deal had been joined by her sister Kelley. The album features possibly their best known song, the late 90s indie-disco classic ‘Cannonball’.

                  The Breeders

                  Pod

                    The Breeders were formed by The Pixies Kim Deal and Throwing Muses Tanya Donelly. This was their debut album originally released by 4AD in May 1990. The album, produced by Steve Albini combines the energy and angular pop sensibilities of their other bands, bolstered by creative songwriting and clever arrangements. It features iconic Vaughan Oliver artwork.

                    Cocteau Twins

                    Head Over Heels - Vinyl Reissue

                      4AD are repressing two more Cocteau Twins’ albums on vinyl this coming March, the albums Head Over Heels and Treasure. Both following on from the recent reissues of Blue Bell Knoll, Heaven or Las Vegas, Tiny Dynamine / Echoes In A Shallow Bay and The Pink Opaque.

                      Using new masters created from high definition files transferred from the original analogue tapes, both albums are being pressed on 180g heavyweight vinyl and come with download codes.

                      Head Over Heels:
                      Released in late-1983, Head Over Heels is the Cocteau Twins’ second album and features classic tracks ‘Sugar Hiccup’ and ‘Musette And Drums’. Coming not long after original bassist Will Heggie had departed the band, the chemistry between remaining members Elizabeth Fraser and Robin Guthrie was flourishing and by moving the band on from the starkness of their debut, they were now making the music that would help them define the decade ahead; her wordless, dreamlike vocals a powerful instrument over his lush, textured guitars their trademark.

                      All Nerve – the first new album from The Breeders in a decade – reunites band members Kim and Kelley Deal, Josephine Wiggs and Jim Macpherson, the line-up behind the iconic and platinum-selling record, Last Splash.

                      The quartet returned to the stage in 2013 to celebrate the album’s 20th anniversary and have been quietly working on new material since then.

                      Featuring singles ‘Wait in the Car’ and title track ‘All Nerve’, recording took place at Candyland, Dayton, Kentucky, with Mike Montgomery; Electrical Audio, Chicago, with Steve Albini and Greg Norman; and with Tom Rastikis at Fernwood Studios, Dayton, Ohio. Artwork was conceived by Chris Bigg, who has worked with The Breeders since their first album, Pod.

                      STAFF COMMENTS

                      Barry says: It's hard to not to get tingles down the spine when hearing Kim Deal's voice. As one of the most recognisable vocals in grunge history. Deal's role in the pixies was unarguably important, but this really takes that iconic backing vocal and brings it rightfully to the forefront. This is a confident, rocking delight, as nuanced as it is heavy.

                      FORMAT INFORMATION

                      LP Info: 180g black vinyl LP.

                      Tune-Yards

                      I Can Feel You Creep Into My Private Life

                      Officially now a duo, Merrill Garbus is joined by long-time collaborator Nate Brenner. Their new album, I can feel you creep into my private life, tackles race, politics, intersectional feminism and environmental prophecies head on. But in the billows of intense subject matter, the album is their most immediate and upbeat yet – this is Tune-Yards’ music to dance to.

                      The follow-up to 2014’s acclaimed album, Nikki Nack, much of I can feel you creep into my private life was recorded at John Vanderslice’s new Tiny Telephone studio in their hometown of Oakland, CA. To help finish this stunning record, they enlisted mixer Mikaelin “Blue” Bluespruce (Solange, Skepta, Kendrick Lamar) and mastered it in Harlem, NY with Dave Kutch (Jay-Z, Chance the Rapper).

                      STAFF COMMENTS

                      Barry says: Sliding from floor-filling disco into hefty futuristic urban breakdowns within the space of a couple short minutes, this takes all the influence from an astounding line-up of collaborators, but manages to sound EXACTLY like tune-yards at their very best. Essential

                      Never before pressed on vinyl, "IBM 1401, A User's Manual", is one of Jóhann Jóhannsson’s most loved works. Released in 2006, the decade since its release has seen Jóhann establish himself as one of the most important composers in the World today, most notably scoring movies such as Arrival, Sicario and The Theory of Everything.

                      Inspired by the work his father did in the sixties when chief maintenance engineer of one of Iceland’s first computers, Jóhann originally wrote "IBM 1401, A User's Manual" to accompany a dance piece by long-standing collaborator and friend, Erna Ómarsdóttir. For this album release, he rewrote it for a sixty-piece string orchestra, with a new final movement (built around a poem by Dorothy Parker) and incorporating both electronics, and reel-to-reel recordings made by his father and friends in 1971 of an enormous IBM 1401 mainframe computer singing the hymn Ísland Ögrum Skorið by Sigvaldi Kaldalóns as it was being decommissioned.

                      The first ever pressing of "IBM 1401, A User's Manual" comes in a deluxe gatefold sleeve, having been reworked by Chris Bigg (v23) from his original design. Pressed on clear vinyl, two album tracks recorded in 2010 with the City of Prague Philharmonic Orchestra at the Rudolfinum, Dvorák Hall in Prague have also been added and are exclusive to this release.


                      Torres

                      Three Futures

                        Torres is the creative alter-ego of Brooklyn-based Mackenzie Scott. In describing the album, Scott says it “is entirely about using the body that each of us has been given as a mechanism of joy.” The 10 original tracks on Three Futures embrace ecstasy, desire and indulgence rather than self-denial, and exude this idea via immersive music. Mechanized grooves are placed at the forefront, providing a framework for perforated electro-pop static, harsh gothic / industrial textures, and insistent Krautrock motifs.

                        For Three Futures, Scott reconnected with producer Rob Ellis (PJ Harvey), who worked on TORRES’ last album Sprinter, to record in Stockport and Dorset. David Tolomei (Beach House, Future Islands) mixed the album.

                        STAFF COMMENTS

                        Barry says: Innately listenable synth-pop / indie goodness on this newest one from all-round bon oeuf and songwriter extraordinaire Torres. It's a heartfelt and beautiful distillation of sexuality, companionship and brilliantly effusive melodicism. Would listen again.

                        The Lemon Twigs

                        Brothers Of Destruction

                          The new EP from The Lemon Twigs, Brothers of Destruction, features six previously unreleased tracks. It was recorded by the D’Addario brothers – Brian (20) and Michael (18) – on their 8-track at home in New York, not long after they finished making their acclaimed debut album, Do Hollywood, with Foxygen’s Jonathan Rado in Los Angeles.

                          “In the beginning of 2015, we had songs left over from the Do Hollywood sessions, so we decided to record them at home in New York on our 8-track. Many of you will recognise some of the songs from our live shows. They’ve changed a lot over the past year, but these are the original versions. We consider the EP the last chapter of the Do Hollywood era of our group.”

                          The National return with their much anticipated seventh album, produced by Aaron Dessner, with additional production by Matt Berninger and Bryce Dessner. The album was mixed by Peter Katis and recorded at Aaron’s Long Pond studio in Hudson Valley, NY.

                          While in some ways it’s typically National-sounding, they’ve definitely added some new elements to their sound. Opening track “Nobody Else Will Be There” is a stripped back ballad with melancholic piano, and Matt’s distinct vocals, but the electronics pulsing away in the background are a sign of what’s to come with the album.

                          All the usual elements are there, intricate guitars, delicate piano keys, scatter-shot drums and of course Matt’s mumbling/crooning baritone, but a new layer of electronics bubbling away in the mix adds a new dimension to their sound.

                          As with the last couple of albums, it features mostly fairly downtempo ballads but they do ramp things up from time to time: “Day I Die”, “They System Only Dreams In Total” and the big rock-out track of the album, “Turtleneck”. It’s taken a few listens to get into it, but as a fan I’m certainly not disappointed.

                          FORMAT INFORMATION

                          2xColoured LP Info: INDIE EXCLUSIVE limited run edition pressed on BLUE vinyl. Comes in a gatefold sleeve, and includes a download card and poster.

                          2xLP Info: Standard edition pressed on white vinyl. Comes in a gatefold sleeve, and includes a download card and poster.

                          Sufjan Stevens, Bryce Dessner, Nico Muhly, James McAlister

                          Planetarium

                          Flanked by a string quartet and a consort of seven trombones, this unique collaborative ensemble have assembled an expansive song cycle that explores the Sun, the Moon, the planets and other celestial bodies of our solar system (and beyond) through soundscape, song, science and myth.

                          The subject of the album is not just the wilderness of outer space, but also the interior space of human consciousness and how it engages with divinity, depravity, society and self - what does it mean to be human?

                          A musical and aesthetic journey as far-reaching as its subject: from lush piano ballads to prog-rock political anthems, curious electronic backbeats to classical cadenzas, which occasionally give way to ambient interludes and majestic brass chorales, buttressed by a percussive drive that keeps the momentum skyward.

                          In spite of all the experimentation in sound and style, Sufjan’s vocals provide a clear and coherent centre of gravity, and includes some of his most diverse vocal performances to date (from soft hush to guttural scream); whether he’s singing through effects pedals, vocoders, auto-tune or not, his voice delivers an ambitious flight map through the cosmos.

                          STAFF COMMENTS

                          Barry says: Conceptually intimidating but perfectly executed suite of space themed pieces, bold and tender in equal measure, beautifully composed and impeccably performed by a superbly talented bunch of some of the best musicians of modern times.

                          FORMAT INFORMATION

                          2xDeluxe LP Info: Deluxe double LP edition is pressed on heavyweight vinyl and includes six 12" art inserts and a download card.

                          Igniting interest with her eponymous debut album released just two years ago, Auckland’s Aldous Harding has become known for her sinister torch songs, gentle laments and eerie odes delivered with a charismatic combination of hubris, shrewd wit and quiet horror.

                          Produced by John Parish (PJ Harvey, Sparklehorse) in Bristol, a world away from her New Zealand home, Party introduces a new talent to the stark, dramatic realm where Kate Bush and Scott Walker reside. As well as contributions from Parish, Perfume Genius’s Mike Hadreas also lends vocals to the aforementioned ‘Imagining My Man’ and album closer ‘Swell Does The Skull’.

                          Do Hollywood is the eagerly anticipated debut album from brothers Brian (19) and Michael (17) D’Addario.

                          Hailing from Long Island, NY, Brian and Michael have been playing rock music since they were old enough to walk and talk, mastering every instrument they could get their hands on and writing and performing everything together (they alternate writing credits and instruments on Do Hollywood).

                          Recorded in Los Angeles, CA, with production by Jonathan Rado of Foxygen, they mine inspiration from every era of rock, crafting richly sophisticated baroque-pop songs into a ten-track tour de force.

                          FORMAT INFORMATION

                          LP Info: Includes MP3 download code.

                          When Castlemaine’s Oliver Hugh Perry released his self-recorded debut EP, ‘Tropical Oceans’, D.D Dumbo was born. Led by the spooky strut of the title-track, the lo-fi four song-set of blues-laced, deconstructed pop announced Perry as an exciting newcomer fluent in a language all his own. People took notice and soon he was performing solo with a 12-string electric guitar, two drums and a bunch of effect pedals and on tour with the likes of Daughter, Iron & Wine, Jungle, St Vincent, Tame Impala, tUnE-yArDs and Warpaint.

                          ‘Utopia Defeated’ is his debut album, an epic, sprawling opus sprung from Oliver’s imagination, written and performed almost entirely by him. Based in the 4AD Studios in London, the album was recorded, engineered and produced by Perry and 4AD’s resident engineer Fabian Prynn.

                          Featuring the singles ‘Satan’ and ‘Walrus’, the tentrack album hurdles effortlessly over the expectations set by his intriguing debut EP. In an early review, Uncut magazine heralded it as “a looping, globally attuned 2016 update of Jeff Buckley’s ‘Grace’.”

                          Galvanized by Tampa hardcore and inspired by its miscreant noise, A Corpse Wired For Sound signals a new chapter for Merchandise. Their second for album 4AD, Merchandise have stripped back to the core of Carson Cox (vocals, electronics), Dave Vassalotti (guitar, electronics) and Pat Brady (bass) to make A Corpse Wired For Sound. The trio travelled to Rosà, Italy to start proceedings, recording half in a studio there and the rest at home, in Tampa as well as in Cox’s newly adopted bases of New York and Berlin.

                          The album’s metallic title is inspired by a science fiction short story by JG Ballard, but equally sums up the band’s current state of mind; “we were ‘reborn’ as a rock band for our last record (After The End)," says Vassalotti, “and then we straight-up died again. It couldn’t last. The result is this distended corpse responding to you from both sides of the Atlantic, forever singing in spite of everything.”



                          Scott Walker

                          The Childhood Of A Leader - Original Soundtrack

                          Scott Walker follows his remarkable collaboration with Sunn O))) with this remarkable soundtrack to Brady Corbet’s directorial debut, Walker’s first score work since the Pola X soundtrack in 1999.

                          Partly inspired by Jean-Paul Sartre’s short story of the same name, The Childhood of a Leader is a tense psychological drama tracing the formative years of a young boy and set against the backdrop of the 1919 Paris Peace Conference that led to the establishment of the Treaty of Versailles.

                          Walker continues to work with long-term collaborators Peter Walsh (co-producer) and Mark Warman (musical director), with the latter conducting an orchestra comprised of 46 string players and 16 brass for the studio recording.

                          FORMAT INFORMATION

                          Indies Exclusive LP Info: Limited edition clear vinyl.

                          ‘This Moment’ is the first album by Danish artist Søren Juul to be released under his own name, having previously recorded using the moniker Indians.

                          A deeply personal account of Juul’s life over a tumultuous three-year period, ‘This Moment’ was recorded mainly in Copenhagen and finished in Los Angeles with producer and fellow Dane Peter Stengaard. An uplifting and redemptive work, the immersive soundscapes of the songs reach heights Juul’s work under Indians had hinted at.

                          As Indians, Juul released the acclaimed album ‘Somewhere Else’, scored the stunning song ‘Oblivion’ for the major motion picture ‘The Fault In Our Stars’, composed works for the Copenhagen Philharmonic and was nominated in four categories for the prestigious Danish music awards Gaffa Prisen. He also toured the world with the likes of Beirut, Daughter, Julia Holter and Perfume Genius.

                          Methyl Ethel

                          Oh Inhuman Spectacle

                          New to 4AD, Australian trio Methyl Ethel’s celebrated debut album is being given a worldwide release. Hailing from the remote fringes of Perth in Western Australia, band linchpin Jake Webb - like 4AD peers Grimes and Bradford Cox before him - wrote, played and recorded everything on ‘Oh Inhuman Spectacle’.

                          Crafted in isolation, the album’s understated psychedelic pop quickly drew plaudits, leading Webb to recruit Chris Wright (drums) and Thom Stewart (bass) - friends from the tight-knit and thriving music scene in Perth - to help realise the songs live as a full-fledged band.

                          Having gained notable success in Australia including being nominated for the prestigious Australian Music Prize and taking Laneway Festival by storm, Methyl Ethel are now poised to take their music overseas with the worldwide release of ‘Oh Inhuman Spectacle’ and a huge run of touring in both Europe and North America to coincide.

                          STAFF COMMENTS

                          Barry says: Like a modern, indiefied iteration of Syd Barrett with the melodic intonations of the ghosts of post-punk. Woozy rhythms and fuzzed-out basses, twirling arpeggios meet chugging guitars and soaring strained vocal melodies. Definitely one to keep an eye on.

                          Liima is a new band formed by Finnish percussionist Tatu Rönkkö plus Mads Brauer, Casper Clausen and Rasmus Stolberg of Danish act Efterklang.

                          Their debut album, ii, features songs written in Finland, Berlin, Istanbul and Madeira during four week-long residencies, with each one ending with a live concert, performing the freshly written songs in front of an audience.

                          Translated from Finnish as ‘glue’, Liima found the spontaneity of writing and performing in a limited time frame hugely liberating and took the same instinctive approach when recording this album. In October 2015, the band along with producer Jonas Verwijnen headed to Vox-Ton studio in Berlin, recording the album in just three days, playing everything together live with no overdubs. ii was mixed to tape by Francesco Donadello.

                          This trio comprises of The National's rhythm section, brothers Scott and Bryan Devendorf along with Trombonist / arranger Ben Lanz who has worked with Beirut and Sufjan Stevens amongst others.

                          LNZNDRF’s debut is rock minimalism meets sonic maximalism. Recorded in a church in Cincinnati over two and a half days, the eight songs on the album were improvised with a vital spirit harking back to the reason the members became musicians in the first place.

                          The songs, which were edited from 30+ minute jams, evoke the essence of their expansive, largely improvised live shows.

                          STAFF COMMENTS

                          Laura says: OK I may have been massively stereotyping bassists and drummers, but I really wasn't expecting an album from The National's rhythm section to be that interesting. Surely they just provide the background for Matt and the Dressner brothers creative stuff? Well it seems I was wrong, as they've teamed up here with Ben Lanz from Beirut to create a really good moody, atmospheric, Kraut-infused album. And before you ask, no I don't know how you pronounce the name.

                          FORMAT INFORMATION

                          LP Info: Initial LP pressing on clear vinyl.

                          Nearly three years after the release of their debut 'If You Leave', Daughter – the London-based trio of Elena Tonra, Igor Haefeli and Remi Aguilella – will return in 2016 with a new album, entitled 'Not To Disappear'.

                          'Not To Disappear' is Daughter’s second album and finds the band making confident strides forward both sonically and lyrically. Elena, Igor and Remi spent a summer in New York recording 'Not To Disappear' with Nicolas Vernhes (Deerhunter, War On Drugs, Animal Collective) at his Rare Book Room studio in Greenpoint, Brooklyn.

                          STAFF COMMENTS

                          Millie says: An amazing album by the very talented Daughter, it’s expressive and emotional throughout. More progressive and experimental from their previous album, ‘Not to Disappear’ is filled with devotion. Absorbing and beautiful, I would recommend it to anyone.

                          FORMAT INFORMATION

                          LP Info: The vinyl includes a download code.

                          It’s December 2013, and Zach Condon is in an Australian hospital. He’s at the tail end of a 3-year non-stop world tour, suffering from health problems brought on by severe exhaustion, fighting through a messy divorce, and is trying in vain to escape the reality that’s dismantling around him and within him. From the hospital, he makes the difficult decision to cancel the rest of the tour. “I had completely broken down and my body was making me pay for it,” Condon recalls from his east Williamsburg home. Ironically, the artist so widely recognised for breaking geographical boundaries was being undone halfway around the world. Pensively, Condon concludes, “For the first time in my life, I was facing extreme self doubt. I had hit rock bottom.”

                          Met with enormous success at age 19, Condon’s career up to that point had been relatively smooth sailing. But now post Australia he finds himself back at home in Brooklyn and unable to write songs. It was 2014, and at age 28 he found himself completely lost. “I couldn’t fathom how one day I was capable of it and one day I wasn’t,” Condon remarks. The darkness clouding his physical and mental health had fully infected his creative and artistic abilities.

                          But this darkness contained a spark of light: he had fallen in love with a woman who inspired him to turn it around. Condon recalls, “having a positive presence like her both provides a healthy guiding force and shines a light on all the negative things in your life. I definitely wouldn’t be where I am now without her.” The two retreated to Turkey Summer of 2014, which proved to be the ultimate keystone in his personal renewal. It has since become their second home, providing perspective in both geographical and political landscapes. He was taken in and cared for by her family there for months (she is Turkish), and given a home base to build around, all during the summer of the Gezi Park riots.

                          Upon returning, still not fully himself, Condon would find himself uncertain, this time in the studio. “I would turn my phone off and be holed up in my rehearsal space alone for days at a time,” says Condon, “and come out with nothing.” He would compose and discard entire albums’ worth of material. For Condon, the songs needed to be born from melody, and if the melodies weren’t coming, the songs would never transpire.

                          So, with his back against the proverbial wall, Condon began a new approach, starting from scratch in Fall 2014 with nothing but an open mind and the musical camaraderie of bandmates Paul Collins (bass) and Nick Petree (drums). For two full months they hammered away daily, creating the foundations for what would evolve into No No No (as well as countless songs that would carpet the cutting room floor).

                          With winter approaching, he booked two weeks at a studio that, by sheer chance and unbeknownst to him, was located a few blocks from his home. This proximity would prove crucial, as the two weeks of recording turned out to overlap with some of the worst winter weather in NYC history – it was one of the coldest and snowiest on record – a fitting climax to the events of the past four years.

                          With his band by his side, No No No suddenly began to take shape, creating an exponentially productive excitement. Those two weeks in the studio, with blizzard after blizzard raging outside, resulted in Condon’s most vibrant and spirited record to date. On past records, Condon composed mostly on his own, electronically, building on sounds and arrangements with ProTools. This time around, the songs were constructed live, in the moment, by the band, and are more concert-ready than ever as a result. The band was significantly stripped down: guitar, piano, bass, and drums formed the bulk of the arrangements as opposed to the more obscure instruments for which he was initially known. No No No opens with a sort of tribal drum beat, quickly giving way to a more western/modern snare sound and drum machine – a subtle wink at Beirut’s own musical transformation.

                          There’s a caffeinated exuberance throughout the entirety of the record. The opening songs are particularly upbeat and awake, reflective of Condon’s newfound clarity, so much so in fact, that the fifth song, the instrumental breather ‘As Needed’ is exactly that – a necessary intermission. The second half picks up where it left off, with effervescent percussion across pop songs, often led by bubbly piano lines that showcase Condon’s development as a pianist.

                          If the darkest hour is right before the dawn, Condon’s dawn is the brightest point in his still-young career. He’s found his true artistic identity as a songwriter – one that greatly abandons many of the formulas for which he was first known. The songwriter within Condon has always been there, albeit sonically veiled on past records. It’s never been presented so prominently, and finds Beirut on its most stable and convincing footing yet.

                          Back in 1986, ‘The Pink Opaque’ brought together the best of the Cocteau Twins’ early works to become their first official release in the US.

                          Already a cult band on college radio, some classics like ‘Pearly-Dewdrops’ Drops’ and ‘Aikea-Guinea’ were given new mixes for this release, while it also featured ‘Millimillenary’, the first run out for incoming band member Simon Raymonde.

                          To this day, ‘The Pink Opaque’ remains a great entry point to a wonderful band. 

                          Using new masters created from high definition files transferred from the original analogue tapes, the album is a 180g vinyl pressing complete with download code. 

                          STAFF COMMENTS

                          David says: The blueprint for pretty much every band I was in at school, right down to the ozone depleting level of hairspray.

                          Cocteau Twins

                          Tiny Dynamine / Echoes In A Shallow Bay

                            With a history of releasing singles between albums, the two EPs of ‘Tiny Dynamine’ and ‘Echoes In A Shallow Bay’ were originally released two weeks apart back in November 1985. Seen as companion pieces, they both acted as a precursor to the band’s fourth studio album, ‘Victorialand’.

                            30 years later, the EPs are now being married together on to one piece of heavyweight vinyl, using new masters created from high definition files transferred from the original analogue tapes and completed with reformatted artwork. 

                            STAFF COMMENTS

                            Andy says: Dreams as music. One of the best bands ever.

                            FORMAT INFORMATION

                            LP includes MP3 Download Code.

                            Future Islands

                            The Chase / Haunted By You

                              Last March the Baltimore-based trio of William Cashion, Samuel T. Herring and Gerrit Whelmers made their groundbreaking network television debut on Letterman, and they recently debuted new single ‘The Chase’ live on the show, after being personally invited back to mark one of the chat show host’s final broadcasts before his retirement.

                              The track is released as a double A-side with another unheard song ‘Haunted By You’, which the band first performed at their recent sold out UK shows.

                              FORMAT INFORMATION

                              Ltd 7" Info: Just found 1 copy of this!

                              To celebrate its 25th anniversary, 4AD release PIXIES: Doolittle 25, a deluxe, three-disc package that brings together for the first time all the album's B-sides, Peel Sessions and demos from the time, along with the original album. Nearly half of the tracks on this album are being commercially released for the first time.

                              Doolittle, the second studio album from Pixies - Black Francis, Joey Santiago, Kim Deal and David Loverng - was to prove a pivotal moment for both band and the wider scene. For the few years prior, the band had enjoyed cult status in their homeland with their early records having to find their way in to the US on import. Their secret was well and truly out in 1989 though when their British label (4AD) joined forces with American giant Elektra in time for Doolittle to receive a full domestic release.

                              Produced by Gil Norton and recorded between two studios (Downtown Recorders in Boston MA and Carriage House Studios in Stamford CT) in late-1988, Doolittle was an instant hit, containing some of the band’s most memorable singles (‘Monkey Gone To Heaven’, ‘Here Comes Your Man’, ‘Debaser’). A slow-burn success story followed, helping them to sell in excess of a million copies in the US alone.

                              An important record, included among the many plaudits thrown Doolittle’s way was Pitchfork ranking it at Number 4 in their Best Albums of the 80s poll, while NME writers in 2004 named it their Second Best Album of All Time. The band toured Doolittle in 2009 to celebrate its 20th birthday and 5 years on from then, it’s now time to give it the deluxe release treatment it deserves.

                              Like all other Pixies sleeves before it, Vaughan Oliver returns to oversee its design, reinterpreting his original artwork and Simon Larbalestier’s photographs to create a stunning design using metallic ink.

                              FORMAT INFORMATION

                              3xLP Info: Gatefold 3LP version, with three pieces of 180g black vinyl being pressed - the first containing the original album, the second, 6 B-Sides and 2 full Peel Sessions and the third being the album in complete demo form plus 3 bonus tracks. A download card is included, offering access to all LP tracks plus 4 more bonus tracks.

                              3xCD Info: Doolittle 25 contains an impressive 50 tracks with the original album on disc one, 2 full Peel Sessions & 6 B-sides on disc two and the complete album in demo form plus 7 bonus tracks on disc three.

                              Cocteau Twins

                              Blue Bell Knoll - Remastered Vinyl Edition

                              Released in 1988, ‘Blue Bell Knoll’ is the Cocteau Twins’ fifth studio album. Delivered after a slightly longer period between records than fans had been used to, this was the first they recorded in their own studio. Freed to now make music how they wanted and with no clock to beat, they rose to the challenge of producing it themselves with real aplomb, introducing a new pop sensibility to their sound, expressed through shorter, ‘hookier’ songs with occasionally intelligible lyrics. Sound On Sound magazine praised the band for showing “an uncanny feel for contemporary sound possibilities without making even the slightest concessions towards the mainstream.”

                              A beautiful record that showed the band’s continued maturity, it also included one of their most enduring songs, ‘Carolyn’s Fingers’, which was reflected on the album’s cover - a close-up of their friend Carolyn’s hand as shot by Juergen Teller.

                              STAFF COMMENTS

                              Martin says: Liz Fraser possesses possibly the most sublime voice in the history of contemporary music, and never was it put to more exquisite use than on the peerless 'Carolyn's Fingers, the very high point of a celestial, iridescent sonic daydream.

                              FORMAT INFORMATION

                              LP Info: Re-pressed for the first time since release on heavyweight black vinyl. Cut from brand-new HD 96/24 masters.

                              Daughter

                              4AD Session

                              Presenting the most ambitious 4AD Session to date, Daughter have unveiled a very special five-song performance recorded in London’s iconic Air Studios with composer Joe Duddell and a 10-piece classical ensemble.

                              Last summer the London-based trio and acclaimed composer / arranger Joe Duddell were brought together by Festival No.6 to participate in a unique project. As the festival’s Composer-In-Residence Duddell, whose impressive CV has seen him collaborate with Elbow and compose for the BBC Proms, approached Daughter with an idea for the band to perform classical versions of their songs. Daughter, who have always wanted to explore this area, agreed to his proposal immediately. With the green light given, Duddell set about crafting classical arrangements for five tracks from Daughter’s debut album ‘If You Leave’ which the band, together with an eight-piece ensemble, performed in front of an audience of sixty people in Port Meirion.

                              4AD Session fimmakers Jane Pollard and Iain Forsyth were lucky enough to witness that mesmerising performance and both they and the band were keen to re-enact that sense of intimacy for a wider audience. “Daughter is a special band; there’s a unique chemistry and a work ethic - an effortless, instinctive talent between these three people,” say Iain and Jane. “We knew we needed to find the optimal conditions and collaborators to ensure that everything was aligned to allow the same magic to happen - the same musicians, Joe Duddell at the helm - but this time in the country’s best recording studio and recorded by the acclaimed Olga Fitzroy amidst a delicate set by art director Sal Pittman.”

                              After further developing the arrangements for those same five songs for the session, Duddell handpicked and assembled a talented cast of young musicians to make up a 10-piece classical ensemble, all of whom are either current students or recent graduates of the Royal Northern College Of Music. Art Director Sal Pittman was also drafted in - her delicate paper birds hang serenely in the space above and around the musicians.

                              In the acoustically and visually stunning Air Studios, Pollard and Forysth captured the trio of Elena Tonra, Igor Haefeli and Remi Aguilella plus Duddell and the RNCM ensemble performing ‘Shallows’, ‘Tomorrow’, ‘Still’, ‘Youth’ and ‘Amsterdam’.



                              FORMAT INFORMATION

                              CD EP Info: Limited to 300 copies.

                              This is the sixth studio album for the Brooklyn band, and follows 2010’s High Violet, which was No 2 in our Albums of The Year, that year.

                              In an interview with UK’s Uncut Magazine, front man Matt Berninger described the songs as more “immediate and visceral” than their previous work. Trouble Will Find Me possesses a directness, a coherency and an approachability that suggests The National are at their most confident.

                              After a 22-month tour following the release of High Violet the band returned home. Regardless of plans to wait to record new music for another year or two, guitarist Aaron Dessner began working on sketches of new songs that the other members were too inspired by to not fully realise. Matt confesses, “For the past ten years we’d been chasing something, wanting to prove something. And this chase was about trying to disprove our own insecurities. After touring High Violet, I think we felt like we’d finally gotten there. Now we could relax—not in terms of our own expectations but we didn’t have to prove our identity any longer.” The results are simultaneously breakthrough and oddly familiar, the culmination of an artistic journey that has led The National both to a new crest and, somehow, back to their beginnings—when, says Aaron, “our ideas would immediately click with each other. It’s free-wheeling again. The songs on one level are our most complex, and on another they’re our most simple and human. It just feels like we’ve embraced the chemistry we have.” The album was recorded at Clubhouse in Rhinebeck, NY. Trouble Will Find Me was self-produced and mixed by Craig Silvey with additional mixing from Peter Katis and Marcus Paquin.

                              STAFF COMMENTS

                              Laura says: With every album The National have pushed on and made a more ambitious album, constantly upping the ante with bigger arrangements and a bigger sound. So how on earth were the going to follow High Violet?
                              Well, it seems they’ve finally come to terms with who and where they are as a band and made an album that reflects that. The Dressner brothers intricate arrangements are still there, as are the distinctive scatter-shot drum patterns (described perfectly by film director DA Pennebaker as “like rain falling through the leaves of a tree”) and of course Matt Berninger’s rich baritone rolls effortlessly over it all, but “Trouble Will Find Me” is a more relaxed, streamlined collection, and this stripping back gives the songs room to breathe and emphasises just how good they are at what they do. There may be less angst here than in the past, but the romanticism and melancholy are still there and for me, once again they've come up with one of the best albums of the year.

                              FORMAT INFORMATION

                              2xLP Info: Double gatefold heavy vinyl with printed inner sleeve.

                              2xLP includes MP3 Download Code.

                              The Breeders

                              LSXX - Last Splash: 20th Anniversary Edition

                              ‘LSXX’ is available as a deluxe three CD package. Many of the recordings included in the set have never been released before, or are rare / fanclub only gems.

                              Cover and individual sleeve artwork has been created by renowned British graphic designer Vaughan Oliver, who described it as “an irreverent conceptual and visual reimagining” of his original ‘Last Splash’ artwork.

                              The release coincides with the Breeders’ ‘LSXX World Tour’, which marks the first time Kim Deal, Kelley Deal, Josephine Wiggs and Jim Macpherson have performed together since 1994.

                              Daughter are a London-based trio consisting of Elena Tonra (vocals, guitar), Igor Haefeli (guitar) and Remi Aguilella (percussion).

                              Daughter started life in 2010 as an outlet for Elena’s musings. After recording a ‘Demos’ EP, Elena joined forces with Igor, then fellow classmates studying music at college. A four-track EP, ‘His Young Heart’, was self released in April 2011, and with Remi completing the line up soon after, The ‘Wild Youth’ EP was released in late 2011. On the strength of these releases alone they have gained a loyal fanbase which continues to grow as public and media alike discover their charms.

                              ‘If You Leave’ is Daughter’s debut album. Recorded over a period of months at home and in various spaces around London, it was produced by Igor with additional production from Rodhaidh McDonald (The xx, Adele) and Jolyon Vaughan Thomas, and mixed by Ken Thomas (Sigur Ros, M83) at High Bank Studios.

                              Less of a statement of intent, these songs are more a snapshot of a year in Daughter’s short life. Lyrically, Elena plumbs the depths of her psyche to reveal her innermost thoughts, finding catharsis in expounding those internal demons. There may be little light relief here, but the personal themes have universal appeal; tales of doubt, insecurity, fear, anger and loneliness all take centre stage.

                              Musically, Daughter balance an intricate interplay between vocal, guitar and rhythm section. Elena’s vocals are fractured, often delivering savage words with a smoke-tinged whisper. Igor wrestles his guitar to build up a stark and brutal landscape, colliding with Elena’s more structured rhythm guitar. All are punctuated by the jolts of Remi’s minimalist drums.

                              ‘If You Leave’ is a bold first move for an act still in its infancy, and yet the songwriting displays a maturity that belies their youth. Darkness may prevail on ‘If You Leave’, but the future looks extremely bright for Elena, Igor and Remi.

                              FORMAT INFORMATION

                              Vinyl comes with CD version of the album enclosed.

                              TV On The Radio

                              Desperate Youth, Blood Thirsty Babes - 180g Coloured Vinyl

                                Yellow 180g vinyl deluxe repress of TV On The Radio’s debut album.

                                What we originally said in 2004: Founding member David Sitek produced albums for Liars and Yeah Yeah Yeahs, but he’d be the first to say that TV On The Radio are something else altogether. He met singer and lyricist Tunde Adebimpe back in 2000 when the two became neighbours in a Brooklyn apartment building. The two began exchanging their stockpiles of homemade four track recordings, and shortly afterwards they ventured onto local stages as a completely improvisational two-piece.

                                Gradually, songs emerged from these explorations, and the live side of things was bolstered by the arrival of guitarist Kyp Malone (who also supplies sweet falsetto harmony vocals), bassist Gerard Smith, and drummer Jaleel Bunton, Brooklyn residents all. People started really taking the band seriously when their debut EP, ‘Young Liars’ (Touch & Go), appeared in the late summer of 2003 - the heady blend of bedroom electronics, warm distortion and killer soul vocals sounded, and still sounds, like nothing else around.

                                A tour with label mates Coco Rosie kept things building - the live shows started to get real busy and, before the year was out, these ripples of intrigue had grown into a tidal wave of excitement. Come SxSW, TV On The Radio were the hottest ticket in town.

                                TV On The Radio’s debut album contains nine tracks that pull the listener in and gather in intensity and invention as the record goes on. Endlessly appealing vocals weave their way through music that somehow combines cosmic jazz (sax and flute), amped-up electronica, twitchy, danceable beats and swathes of treated guitar into rich and endlessly surprising folds of sound.

                                Indians

                                Somewhere Else - Bonus Disc Edition

                                INITIAL COPIES OF BOTH THE CD AND VINYL COME WITH AN EXCLUSIVE '4AD SESSIONS' CD BONUS DISC.

                                “Imagine taking the log cabin narrative of (Bon Iver’s) ‘For Emma, Forever Ago’ but transplanting it from rural Wisconsin to a lonely lunar space station” - Under The Radar

                                Coming to the attention of 4AD after a clutch of demo tracks went online early in 2012, Indians emerged in a fittingly understated manner and with ‘Somewhere Else’ have made both an assured and majestic debut album.

                                From Copenhagen, Indians is all the work of one man, Søren Løkke Juul, who brought his band in to being when he felt the need to challenge himself and do something different. Not aiming for anything other than satisfying a creative urge, things have snowballed quickly for him ever since.

                                Performing his first show as Indians in February 2012, he self-released his debut single on 7” a few months later and has since extensively toured both Europe and North America, playing shows with the likes of Beirut, Bear In Heaven, Dan Deacon, Lower Dens, Other Lives, Perfume Genius, Retribution Gospel Choir, Savages and Weird Dreams. To cap it off, he’s joined fellow countrymen Efterklang in signing to 4AD, doubling the number of Scandinavian acts on their roster.

                                Over the summer months, Søren retreated to a studio in the Danish countryside to finish his early demos and write new material to make ‘Somewhere Else’, a personal document that’s equal parts melancholic lament and hopeful stargazing, the title itself an indication of the sense of otherness that runs throughout. Evocative of the natural world, its cavernous tones and Autumnal warmth reflect the vastness of the landscape that formed the backdrop of its conception

                                Indians celebrated their signing with the airing of a 4AD Session, joining the ranks of Bon Iver, St. Vincent, Tune-Yards and Mark Lanegan before them. Like all 4AD Sessions, it was filmed in a day and in the way that the band wanted it. Directed by Iain & Jane, they went to Osea Island, a little-known, privately owned island in the estuary of the Blackwater in Essex, UK where Søren was flanked by two additional band members (his live band floats between solo performances and a three-piece band). Facing up to the challenge of performing in a vast open space, under sky and near water, they triumphed in making quite a first impression.

                                Twin Shadow, the creative moniker of George Lewis Jr., will release second album ‘Confess’ on 4AD. Self-produced and with mixing duties handled by Michael H. Brauer (Bob Dylan, Paul McCartney), the follow-up to 2010’s ‘Forget’ (“Impressive” - The Sunday Times ****) finds Lewis Jr. doing what he does best; remembering and reinventing, and fashioning a soundtrack which sounds refreshingly and distinctly modern.

                                Talking about his inspiration behind ‘Confess’, New York-based George Lewis Jr. writes: “One winter I crashed my motorcycle, with a friend on the back. I shouldn’t have been riding that day, but I was young and fearless of the black roads, fast and easy in my ways. As the bike slipped from under us my head filled with words. The slow motion moments of calm just after surprise and just before regret are bliss. I remember in that moment I wanted to say everything to him. How could I say everything in a split second? How could I bury my words in his heart?”

                                “I got a new bike and went to LA to record what is now called ‘Confess’. I took the bike out at 6am one morning after not having done much riding in the couple years between ‘Forget’ and ‘Confess’. I noticed my head clearing as I came slowly down a hill where the road around a reservoir began. I pulled back slowly on the throttle with my right hand, and felt the bike start to come to life. My head was still crystal clear… nothing. As I kicked the bike into third, I pulled almost all the way back and jumped forward leaning in towards the gas tank, fighting the wind. I got up to 75 and saw that no one was out but the runners and their four legged friends, the sidewalks became a blur of barking dogs and heads all turning. My mind was empty. I put the bike in fourth and hit 90. The engine jackhammered under my legs. My mind was clear. I inched toward 100 on the speedometer and punch the last five. TON UP! My mind is filled with words. My heart is full of love. This is where I want to be. I want to stay here, and I want to tell you everything.”

                                STAFF COMMENTS

                                Andy says: This is like Part Two of his amazing debut, but he's made it out of the bedroom and into a proper studio. The result is a punchier take on his unique vision. Retro yet defiantly unique.

                                Deerhunter

                                Microcastle

                                  "Microcastle" is the follow-up to 2006's critically lauded "Cryptograms" and was recorded over the course of a week at the Rare Book Studios in Brooklyn, NY with studio proprietor Nicolas Verhes (Les Savy Fav, Silver Jews). All tracks on the record feature Bradford on lead vocals except "Agoraphobia" and "Neither Of Us, Uncertainly", which are fronted by guitarist Lockett Pundt, while "Saved By Old Times" also features a vocal collage by Cole Alexander of The Black Lips. It's a more immediate album than it's predecessor, and although not exactly what you'd call a 'pop' album it's much more accessible. In fact, it kind of falls somewhere between "Cryptograms" and Bradford Cox's solo project Atlas Sound. The songs range from shimmering slow fuzz, at times bringing to mind 80s 4AD acts like Ultra Vivid Scene, to more upbeat, psyche-pop experiments. The mood and tempo change constantly, but that's not to say it's disjointed, it all flows beautifully, all the while pulling influences from all over the place; 60s doo-whop to Kraut to garage punk, all filtered through a shoegaze-fuzz. A wonderfully uplifting, off-kilter pop album. Set to be a Piccadilly Records favourite!

                                  FORMAT INFORMATION

                                  2xCD Info: The CD includes the extra disc "Weird Era". This was included to provide some 'new' tracks due to the fact that "Microcastle" got leaked on the net, ages ago!

                                  ‘Blues Funeral’ is the new Mark Lanegan Band record, the first since 2004’s ‘Bubblegum’, recorded in Hollywood, California by Alain Johannes at his 11ad studio. In the mean time, he’s been busy working with the likes of Isobel Campbell, Twilight Singers, Gutter Twins and Soulsavers. Here, the music was played by Johannes and Jack Irons with appearances from Greg Dulli, Josh Homme et al.

                                  The awesome ‘Gravedigger’s Song’ kicks things off, with it’s pounding, claustrophobic beats. The tempo slows for the next track ‘Bleeding Muddy Water’, with it’s soulful, pulsing groove. In fact, the whole album ‘grooves’ to varying degrees, from slow and soulful, to Kraut-ish metronomy, to almost funky – yes really! There’s a lot going on here, and it’s taken me a good few listens to get to grips with it, but as ever, Mark’s dark tales, delivered in his distinctive gravelly tones have won me over.

                                  With such a wealth of releases behind him, it’s hardly surprising that Joker’s music escapes easy characterisation. Keen to avoid generic formalism, he has even publically distanced himself from being labelled  as just dubstep. It’s understandable, since his music runs deep with R&B, funk and soul influences combining with his trademark pounding bass wobbles and ascending crystalline synths. Also apparent is an affection for computer games; no more evident than on the Sega throwdown album track ‘Level 6 (Interlude)’.

                                  Old fans will be pleased to know that trademark instrumentals are there in abundance, from the Vangelis inspired album opener (‘Intro’) to established classics ‘Tron’ and ‘My Trance Girl’, which showcase the muscular synths and sharp drum snaps for which he has become renowned to the warmth of the heady height of summer album closer, ‘The Magic Causeway’, performed with Ginz. These are complimented by a number of startling vocal collaborations that also show just how far his sound has come; with inspired contributions from fellow rising stars like Jessie Ware on the Radio 1 playlisted ‘The Vision (Let Me Breathe)’, Jay Wilcox on ‘Electric Sea’ and Silas from Turboweekend and William Cartwright on forthcoming singles, ‘Here Come The Lights’ and ‘On My Mind’. He also found the time to round up Buggsy, Shadz, Scarz and Double (KHK-SP) to record ‘Back In The Days’, the definitive Bristol track he’s been promising to make.


                                  When Justin Vernon emerged from the wilds of Wisconsin in 2008 with his Bon Iver project, and the startling debut album 'For Emma, Forever Ago', perhaps none of us quite realised the magnitude of this unique talent. Not only did he capture hearts across the globe, but 'For Emma' also attained beyond gold sales in the UK, and the follow up EP ‘Blood Bank’ debuted at #14 on the Billboard Top 200 and the Top 40 UK in 2009. In the intervening months and years, Vernon has collaborated non-stop on entirely new projects in varying genres with Gayngs’ sassy innovation on the Relayted album, and Volcano Choir, a freeform adventure with fellow Wisconsin musicians Collections of Colonies of Bees on the album Unmap. He also duetted with St Vincent, appearing on the Twilight: New Moon soundtrack, while Peter Gabriel recorded a cover of Bon Iver’s ‘Flume’ and Bon Iver reciprocated with ‘Come Talk To Me’ for a Record Store Day limited edition 7” release.

                                  And then there was the time when Kanye West called up and invited Vernon to pop down to his studio in Hawaii to collaborate on the hip hop auteur’s astoundingly bold opus, 'My Beautiful Dark Twisted Fantasy'. West sampled ‘Woods’ (taken from ‘Blood Bank’) on the track ‘Lost in the World’. Vernon also appeared – alongside Jay-Z, Rick Ross and Nicki Minaj – on ‘Monster’, which proved to be one of the tracks of last year. He also appeared on four other tracks and has since performed live with Kanye on numerous occasions, including the 2011 Coachella Festival.

                                  When it came to recording the follow up to 'For Emma', Justin Vernon headed to his hometown of Eau Claire. Bon Iver was recorded and mixed at April Base Studios, a remodeled veterinarian’s clinic located in rural Fall Creek, Wisconsin. The main recording space is constructed over a defunct indoor pool attached to the clinic.

                                  “It’s an unique space and destination; it’s our home out here,” says Vernon, who purchased the structure with his brother in late 2008 with the sole intention of converting it into his ideal recording studio. “It’s been a wonderful freedom, working in a place we built. It’s also three miles from the house I grew up in, and just ten minutes from the bar where my parents met.”

                                  The creation of 'Bon Iver, Bon Iver' was not solely down to Vernon. On the track ‘Beth/Rest’ and throughout the album, we hear the pedal steel of Greg Leisz (Lucinda Williams, Bill Frisell), the uniquely layered low end of Colin Stetson's (Tom Waits, Arcade Fire) saxophones, the riffing of Mike Lewis' (Happy Apple, Andrew Bird) altos and tenors, and the lush horns of C.J. Camerieri (Rufus Wainwright, Sufjan Stevens). Bon Iver regulars Sean Carey, Mike Noyce and Matt McCaughan contributed vocals, drums and production, Rob Moose (Antony and the Johnsons, The National) helped with arranging and added strings, and fellow members of Volcano Choir, Jim Schoenecker and Tom Wincek provided processing.

                                  It’s all there right away, in the thicker-stringed guitar and military snare of ‘Perth’, and ‘Minnesota, WI.’ Anyone who had a single listen to 'For Emma' will peg Justin Vernon’s vocals immediately, but there is a sturdiness – an insistence – to Bon Iver that allows him to escape the cabin in the woods without burning it to the ground. ‘Holocene’ opens with simple finger-picking. The vocal is regret spun hollow and strung on a wire. Then the snare-beat breaks and drives us forward and up and up….The magical poise and restraint of ‘Michicant’. The vocals in ‘Hinnom, TX’ ease to the muffled depths, while the instrumentation remains sparse and cosmic.

                                  From the tenderised piano and sprouting strings of arguable album highlight ‘Wash’, we arrive at future single ‘Calgary’ – a worship song to everything 'For Emma' mourned. At the point in the final track ‘Beth/Rest’ when Vernon sings, “I ain’t livin’ in the dark no more” it is clear he isn’t dancing in the sunshine, but rather shading toward a new light. It also provides the most ‘Woods’-like moment on the album in terms of singular voice and production.

                                  'Bon Iver, Bon Iver' is Justin Vernon returning to former haunts with a new spirit. The reprises are there – solitude, quietude and hope – but always a rhythm arises, a pulse vivified by gratitude and grace notes, some as bright as a bicycle bell. The winter, the myth, has faded to just that, and this is the new momentary present. From ‘Perth’ to ‘Beth’ we go full circle and reach the summation to a remarkable second album.


                                  Pixies

                                  Wave Of Mutilation: Best Of The Pixies - Deluxe Vinyl

                                  The ultimate Pixies compilation, ‘Wave Of Mutilation’ has sold over half a million copies since its release in 2004 and remains a consistent seller with the band regularly touring, headlining festivals and crossing over to new audiences. However, it has taken six years and the re-issue of the regular albums to finally release the ‘Best Of Pixies’ on vinyl.

                                  Following the original CD sequencing, the double vinyl set (each side is under 20 minutes long for the best quality cut) is packaged in a gatefold sleeve.

                                  “This compilation's track listing is in more or less chronological order… which helps the flow of the collection; since each of the Pixies’ albums had its own distinctive feel, the cut'n'paste approach of the previous best of didn't always serve the songs it collected. The collection does a good job of compiling the band's singles, two excellent B-sides (‘Into The White’ and ‘Winterlong’), and many of their key album tracks. Even though the best way to experience the band is still devouring each of their albums, ‘Wave Of Mutilation: Best Of Pixies’ is intended as a primer to their work, and - fannish nitpicking aside - it's a far better overview than what was available before” - Heather Phares (All Music).

                                  STAFF COMMENTS

                                  Andy says: The best of one of the greatest bands ever, now on lush double vinyl. RESULT.

                                  FORMAT INFORMATION

                                  2xLtd LP Info: 2 x 180g vinyl pressing in gatefold sleeve and outer PVC.

                                  "Halcyon Digest" is the fourth studio album from Atlanta’s Deerhunter, released by 4AD.

                                  The quartet of Bradford Cox, Lockett Pundt, Joshua Fauver and Moses Archuleta have established themselves as one of the most innovative and important bands to emerge from the US in recent years and "Halcyon Digest" is sure to bolster this newfound status of theirs.

                                  Deerhunter are renowned for their prolificacy; in the two years since signing to 4AD, the group has released a double album ("Microcastle" and "Weird Era Cont.") and a five-track EP ("Rainwater Cassette Exchange") as well as numerous unofficial tracks that appear on a regular basis – albeit only for a short duration – on the band’s blog. Furthermore, the band’s own solo projects (Bradford’s Atlas Sound moniker and Lockett’s Lotus Plaza) have released albums at a similar rate.

                                  With every release, Deerhunter widen their sphere of influence and critically they continue to impress.

                                  STAFF COMMENTS

                                  Darryl says: Another effortlessly brilliant album from Deerhunter, currently America's greatest exponents of indie art-rock.

                                  The album opens with the slow drums and mournful vocals of “Terrible Love” but from the start there’s a simmering intensity that builds and eventually explodes into crashing cymbals, pummelling drums, distorted guitars and layered vocals.
                                  A dramatic entrance to The National’s fifth album. But it’s not all this heavy, as with their previous releases it’s an album of mood swings. Where “Terrible Love” was explosive, second track “Sorrow” is mournful and melodic.
                                  And while the album changes mood and tempo, at times warm and intimate at others dramatic, propelled by off beat drum rhythms, there’s always a palpable intensity. I read recently that they find it hard to finish songs, with one or other band member frequently rejecting material. Whether the atmosphere created here is the cause or result of this I don’t know, but either way it works perfectly. Despite Matt’s melancholy, there’s something really uplifting about this collection of beautifully crafted mini epics.


                                  STAFF COMMENTS

                                  Martin says: A bona fide classic, and possibly the summit of The National's already majestic canon. Moody, introspective and deeply involving, "High Violet" manages to be both clever and inventive and at the same time focused in it's somewhat bleak expression. A work of troubled genius whose (very) high points, "Afraid of Everyone", "Bloodbuzz Ohio" and the sublime "Conversation 16" would grace pretty much any album, ever. It is really that good.

                                  From Minnesota via Los Angeles and now based in Chicago, twenty-three year old Anni Rossi is an exciting prospect. Having been classically trained since aged three, Anni is an accomplished multi-instrumentalist and has been performing as a solo artist for the past few years. Fresh from signing to 4AD, Anni headed straight to Electrical Audio in Illinois to record "Rockwell" with Steve Albini and the results show it to have been a wise move. Mostly using tracks from her existing live set, the energy, depth and eccentricities of her live show have all been successfully translated onto record, making the document she set out to make – something she feels she has never achieved previously. Until now, the viola has formed the centrepiece to her music, often finding itself to be the only instrument used, but more come to the fore here. In particular, drums and cello slightly elevate her sound, appearing occasionally to fill in corners. The fact it was all recorded in one day will surprise most but so will the unlikely cover version of Ace Of Base's "Living In Danger", a version so sublime you wouldn't know what it was unless told.

                                  Following 2006's astonishing debut "Gulag Orkestar", Zach Condon AKA Beirut returns with "Flying Club Cup". In between the two albums, he has been living in Paris immersing himself in France's culture, fashion, history and music, in much the same way as he absorbed Balkan culture for his debut album. Condon's musical gaze has now looked to the likes of Jacques Brel and Francois Hardy for inspiration, and "Flying Club Cup" is another sweeping and triumphant European folk album that combines these new ideas with elements of his previous work too. Where as "Gulag Orkestar" was mainly a solo effort, for this album Condon has acted as a band leader putting together a core group of eight musicians and together they've managed to recreate his cultural borderless vision with this expansive and enthralling album.

                                  Orchestrated folk-pop for fans of Sufjan Stevens, Calexico, Arcade Fire, the Magnetic Fields, Klezmer, Neutral Milk Hotel, and the Boban Markovic Orchestra. There are no guitars on this album; instead, horns, violins, cellos, ukeleles, mandolins, glockenspiel, drums, tambourines, congas, organs, pianos, clarinets and accordions all build and break around Zach Condon's deep voiced crooner vocals, swaying to the Eastern European beats like a drunken 12 piece carnival band. Guests include Jeremy Barnes (Neutral Milk Hotel) and Heather Trost (A Hawk And A Hacksaw). "Gulag Orkestar" is a glorious sweep of music, striking in its emotional content and stunning in its scope.

                                  STAFF COMMENTS

                                  Darryl says: Zach Condon's epic debut album, sounding like the best drunken Eastern European party ever. Perfect for swaying along to after one too many Summer ales!!!

                                  FORMAT INFORMATION

                                  2xCD Info: UK version on 4AD now with a bonus disc, "The Lon Gisland" EP.

                                  "Doolittle" was the follow up to their ground breaking debut "Surfer Rosa" and basically continued where that one left off. With a slightly more refined sound, less raw and more melodic (even more pop!), arty and with strange twists and turns, it was probably their most successful album. Includes "Debaser", "Here Comes Your Man", "Monkey Gone To Heaven".

                                  FORMAT INFORMATION

                                  LP Info: These limited edition vinyl are mastered from original tapes, the sleeves have been printed from original films and the albums pressed on 180g vinyl.

                                  Pixies

                                  Surfer Rosa - Vinyl Edition

                                  The Steve Albini produced "Surfer Rosa" was the first full length release from The Pixies. Abrasive, clever, and totally unique, it defined their sound and became one of the most influential albums of the 80s.

                                  FORMAT INFORMATION

                                  LP Info: These limited edition vinyl are mastered from original tapes, the sleeves have been printed from original films and the albums pressed on 180g vinyl. Limited to 1500 copies world wide.

                                  Cocteau Twins

                                  Heaven Or Las Vegas

                                  Originally out in 1990, "Heaven Or Las Vegas" was the Cocteau Twins' last LP for 4AD, and the pinnacle of their releases to date. Everything you love about the trio's music is present here: phased, shimmering guitar soundscapes, subtle synth washes and textures, and of course Liz Fraser's swooping, soaring vocal. If you had to pick only one Cocteau Twins LP to own, then this has to be it!

                                  FORMAT INFORMATION

                                  CD Info: Reissue, remastered by Robin Guthrie.

                                  Cocteau Twins

                                  Head Over Heels

                                  Creating one of the most distinctive sounds in 80s music, The Cocteau Twins were one of the 4AD label's greatest bands. In Elizabeth Fraser, the band had an utterly unique performer who eschewed conventional lyrics for the sound and textures that were layered onto Robin Guthrie's banks of distorted guitars, tape loops and echo.

                                  Losing original member Heggie might at first have seemed a troubling blow, but in fact it allowed the duo of Fraser and Guthrie to transcend the darkened one-note gloom of "Garlands" with "Head Over Heels". The album introduces a variety of different shadings and approaches to the incipient Cocteaus' sound, pointing the band towards the exultant, elegant beauty of later releases. Opening number "When Mama Was Moth" demonstrates the new musical range nicely; Fraser's singing is much more upfront, while Guthrie creates a bewitching mix of dark guitar notes and sparkling keyboard tones, with percussion echoing in the background. Other songs, like the sax-accompanied "Five Ten Fiftyfold" and "The Tinderbox (Of a Heart)" reflect the more elaborate musical melancholy of the group, while still other cuts are downright sprightly. "Multifoiled" in particular is a charm, a jazzily-arranged number that lets Fraser do a bit of scatting, while "In the Gold Dust Rush" mixes acoustic guitar drama into Fraser's swooping singing. Perhaps the two strongest numbers of all are "Sugar Hiccup," mixing the mock choir effect the band would use elsewhere with both a lovely guitar line and singing; and "Musette and Drums," a massive, powerful collision of Guthrie's guitar at its loudest and most powerful and Fraser's singing at its most intense.

                                  Now remastered from the original tapes by Robin Guthrie.

                                  Cocteau Twins

                                  Treasure

                                  "Treasure" is arguably the Cocteau Twins finest album, bassist Simon Raymonde joined the band in 1983 and after a couple of brilliant EPs came "Treasure". Opening with "Ivo", one of their best album openers featuring a brilliant Robin Guthrie guitar solo and followed by one of my all time favourite Cocteau Twins tracks in "Lorelei" the pace never slackens, the quality of the songs never lets up right to the last note on the albums climax "Donimo" which ultimatly explodes into a heavenly choral wall of sound.

                                  Cocteau Twins

                                  Victorialand

                                  "Victorialand" is an altogether more relaxed affair than some of their early work as the Cocteau Twins reverted to a duo of Fraser and Guthrie in Simon Raymonde's absence. Without Raymonde's hectic bass the rhythms are subtler as layered guitar lines and lush soundscapes fill the air. Over all Liz Fraser's wonderfully fine voice weaves in and out. A few saxophone textures, a little tabla and the effect is complete. Highlights include the albums majestic opener "Lazy Calm", the multi textured "Fluffy Tufts", and the haunting and darker closing number "The Thinner The Air".

                                  Cocteau Twins

                                  Garlands

                                  Formed by guitarist Robin Guthrie and bassist Will Heggie in Stonehaven in 1979 and with the addition of Guthrie's then girlfriend Elizabeth Fraser as vocalist, the Cocteau Twins signed to 4AD in 1982 releasing their debut "Garlands" later that year. Anchored by a Roland 808 drum machine and Heggie's swooping bass lines, guitarist Guthrie created an atmospheric sound providing a perfect platform for Fraser's remarkable vocals.

                                  Easily the darkest and most straightforwardly post-punk album Cocteau Twins ever recorded, "Garlands" has a spare, desolate, insistently minor-key sound that owes a clear debt to Joy Division; however, what keeps the proceedings from sounding derivative are Robin Guthrie's spiraling guitar textures (far more primal than on future albums) and Elizabeth Fraser's vocals, which somehow manage to evoke beauty and dread simultaneously. While the album suffers a bit from the use of a drum machine and several songs that are overly repetitious (something rarely found on their later albums), "Garlands" manages to create a sound that, while not indicative of where Cocteau Twins were heading next, still played an important role in defining the 4AD sound of the early 80s.

                                  Now remastered by Guthrie with new artwork.

                                  Pixies

                                  Bossa Nova

                                    Originally released in 1990, "Bossanova" was seen as something of a let-down initially, (it was always going to be tough following such a huge album as "Doolittle") but Frank Black has since said it's his favourite. There are rockers here but it's on the mellower moments that they really excel.

                                    Pixies

                                    Surfer Rosa & Come On Pilgrim

                                      If you don't already own this CD - why on earth not??? "Come On Pilgrim" was their first mini album, released in 1987, it was followed by the Steve Albini produced "Surfer Rosa". Abrasive, clever, and totally unique, it defined their sound and became one of the most influential albums of the 80s. With the tracks from both albums now available on one CD, you'd be a fool not to buy it!


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                                      RT @dinkededition: This peach lands in all DINKED shops tomorrow. BLACK PEACHES ‘Fire In The Hole’ They may have flown a little under th…
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